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The key influences of historical events in Russia on the themes of stage dance genre

2-09-2017, 13:29, опубликовал: dieseo в раздел Новости

   
The key influences of historical events in Russia on the themes of stage dance genre
Interesting repertoire with a variety of genres Leningrad collective of choreographic miniature was created by the biggest master of concert miniature Leonid Jacabson. Utilizing to wide selection of themes, including contemporary, balletmeister displayed them with various tools, always preferred natural plasticity and sharply grotesque strikes. The base for some images is the dance folklore (Troika, Lovers), in others it was classical dance and its academic version.
Jacabson often declared his denial of classics and was able to prove that as far as spectacle is concerned one can do without it by successful debut of A. Khachaturyan ballet Spartacus. But in choreographic miniatures, unexpectantly combining classical dance with various plasticity systems, Jaconson significantly increased his lexicon and allowed for bright features.
Passionate polemist in nature, Jaconson is extreme in everything – in his support and denial, the way he created was indescribable. From the performers, he demanded absolute submission. It is not accidental that the troupe included dancers of highest technical level but did not haver individuality.
Starting with 1976 the artistic director became AskoldAnatolievich Makarov. Collective keeps productions of Jacobson is attracting young balettmeisters who had the eagerness to continue and develop artistic principles of big masters.
In 1977 emerged ensemble of ballet under the direction of Boris Ayfman. In his productions, created for the stage and theater, choreographic fantasy is eternally tied with logics and contemporary thinking.
Ensemble immediately attracted audience, mostly the young, with the contemporary music and themes of program, triggering moral and social problems which were expressed in abstract and variety of dance language.
In the middle of the 60s all Russian stage workshop was graduated by Y. Romanenko and A. Gaydarova. They distinguished themselves not with mastery but a promising physical attributes- beautiful lines of figure of Romanenko and exceptional strength and athletic preparation of Gaidarova. Which allowed them to display very strong support.
The interaction of various genres possessed by the nature of stage art became notable in all varieties of dance but mostly dance-play miniature. Special development gained tradition of an eccentric number with elements of dance, pantomime and word. These numbers till the mid 60s were performed by the older generation such as M. Kharitonov and N. Tiberg. In their footsteps went V. Khvorostov and E Megirov possessed by significant comedy talent and contrast body image.
Freely possessed the art of word dancer FainaNikolaevna Ivanova, laureate of the international competition of folk dance emerged in 1959 in the trope of Theater of miniatures which was directed by dramaturg V. Polyakov. Balletmeister V. Varkovitskiy put together “Besprizornik” to the popular melodies of the 20s. Jacabson – a number inspired by the Picasso painting, the Lover of absinthe.
The search of various principles of composing dance-paly miniatures may be traced in the works Ninel Alexandrovna Raudsepp and Edward KharudinovichaSattarova, the actor of the wide range. They performed numbers of various content, lyrical and drama in nature. Their “Poema o Mujestve” dedicated to the memory of one of the heroines of Krasnodar, Luba Shevtsovoy, was produced by Emilia JacovlevnaVinogradova, balletmeister always created his numbers keeping the actors in mind.
Vinogradova planned her way of development of dance-play miniature leading to the hyperbolization of images and showmanship of phenomena with the help of eccentricity.
The bloom of jazz music wide interest gave life to dance in contemporary rhythms whose author was Vladimir AlexandrovichShubarin. Art work of Shubarin who became ill with jazz before his arrival at the professional stage. His works were developed in the same direction as the choreography of the 60s. he started searching for a strong mix of virtuous classical dance with contemporary plasticity which would produce an output of various and complicated images. Of course, adding the actor expressions and fantasy the name of Shubarin also gifted.
Shubarin persistently deepened the knowledge and understanding of jazz music- its rhythmical riches, the improvisation of character given limitless space for creativity. He even studied percussion instrument which helped him to rhythmically disassemble any musical piece written for jazz.
In some dance pieces which mainly is the composition of the solo concert programs of Shubarin he achieves the goals placed before him. However, the significance of his creative works is to some degree wider than the specific professional objective.
Specific stage quality of the works of Shubarin is that he is able to view his work and the image in progress from the third point of view, able to grade it while remaining to be a dancer dedicated to his art.
Huge success with the public usually disorients a dancer more or less. He thought that he could do everything by himself without utilizing directors. Besides, the stressful conditions of a concert life tired Shubarin, somewhat extinguishing his inner fire. Trying to overcome the emerged crisis, Shubarin started to seek new forms of program composition- for a while he performed with a dance troupe.
Significant departing point for the development of stage dance gave jazz music. Dances emerged in contemporary rhythm destroying many years of separation between every day and scenic dances. Jazz accompaniment of folk melodies influenced the folk dance in solo form. The best numbers of this direction is tactically to go with folk movements and rhythms as well as elements of popular dances. Highlighted by the costumes and genuine folklore motives.
Refusal of strict frames of a plot was undergone by the genre of duet dance who obtained a wholeness of choreographic expressionism. It was aided by the reform of costume which emerged with the new demands to refuse the realistic scene clothes as well as the availability of elastic materials which allowed to underline the beauty of human figure and choreographic pattern.
Literature list.
Russian soviet stage 1917-1929 (pages 240-279).
Russian soviet stage 1930-1945 (pages 305-356).
Russian soviet stage 1946-1977 (pages 392-452).
To be continued...
Author: Olga Grigorieva
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